- +36307992219
- University of Szeged, Department of the Classical Philology and Neo-Latin, Department Memberadd
- Gergő Gellérfi is a research fellow at the Identity and Culture Research Center, Faculty of Humanities and Social Sci... moreGergő Gellérfi is a research fellow at the Identity and Culture Research Center, Faculty of Humanities and Social Sciences, University of Szeged. He obtained his Ph.D. degree at the same university in 2015 by defending his thesis on intertextuality in Juvenal’s Satires. His main research interest is Roman Verse Satire, but he also published papers on Lucan and Roman Papyrology.edit
Critical edition of Bartolomeo Fonzio's unpublished comments on Juvenal. // A Biblioteca Riccardiana 1172. számú kódexe őrizte meg Bartolomeo Fonzio (B. della Fonte, Bartholomaeus Fontius) Annotationes in Iuvenalem című írásának egyetlen... more
Critical edition of Bartolomeo Fonzio's unpublished comments on Juvenal.
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A Biblioteca Riccardiana 1172. számú kódexe őrizte meg Bartolomeo Fonzio (B. della Fonte, Bartholomaeus Fontius) Annotationes in Iuvenalem című írásának egyetlen kéziratát, melyben a humanista szerző összesen 81 iuvenalisi helyhez fogalmaz meg hosszabb-rövidebb magyarázatokat, s minden esetben reflektál legalább egy korábbi nézetre, melyet megcáfol – a modern filológia eredményei alapján az esetek döntő többségében jogosan. Ráadásul humanista „kollégái” magyarázatait nem csupán idézi, de gyakran minősíti is: egyesekkel szemben visszafogott, másokat viszont kimondottan sértő módon, olykor a személyeskedés határát is súrolva (vagy akár azon túllépve) marasztal el általa tévesnek ítélt nézeteik miatt, s ebben a szerepben csillantja meg leginkább sajátos stílusát, a szatíráról szatirikus gúnnyal vitatkozva. A kötetben a latin szöveg javított és filológiai jegyzetekkel ellátott kiadása mellett első ízben jelenik meg magyar fordításban Bartolomeo Fonzio elfeledett Iuvenalis-kommentárja.
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A Biblioteca Riccardiana 1172. számú kódexe őrizte meg Bartolomeo Fonzio (B. della Fonte, Bartholomaeus Fontius) Annotationes in Iuvenalem című írásának egyetlen kéziratát, melyben a humanista szerző összesen 81 iuvenalisi helyhez fogalmaz meg hosszabb-rövidebb magyarázatokat, s minden esetben reflektál legalább egy korábbi nézetre, melyet megcáfol – a modern filológia eredményei alapján az esetek döntő többségében jogosan. Ráadásul humanista „kollégái” magyarázatait nem csupán idézi, de gyakran minősíti is: egyesekkel szemben visszafogott, másokat viszont kimondottan sértő módon, olykor a személyeskedés határát is súrolva (vagy akár azon túllépve) marasztal el általa tévesnek ítélt nézeteik miatt, s ebben a szerepben csillantja meg leginkább sajátos stílusát, a szatíráról szatirikus gúnnyal vitatkozva. A kötetben a latin szöveg javított és filológiai jegyzetekkel ellátott kiadása mellett első ízben jelenik meg magyar fordításban Bartolomeo Fonzio elfeledett Iuvenalis-kommentárja.
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A szatíra műfajával kapcsolatban lépten-nyomon hangsúlyozott keverékjelleg Iuvenalisnál nem csupán a tematikára jellemző. Szatíraköltészete intertextuális jelenségek gazdag tárháza: költeményeiben számos mű, szerző és olykor műfaji... more
A szatíra műfajával kapcsolatban lépten-nyomon hangsúlyozott keverékjelleg Iuvenalisnál nem csupán a tematikára jellemző. Szatíraköltészete intertextuális jelenségek gazdag tárháza: költeményeiben számos mű, szerző és olykor műfaji hagyomány hatása érezhető. Kutatásaim célja Iuvenalis irodalmi forrásainak feltárása, az egyes párhuzamok és a köztük felfedezhető összefüggések bemutatása és értelmezése. A szövegközi kapcsolatok közül különös figyelmet érdemelnek a szatírák és az eposzköltészet kapcsolatai: ez a szatirikus költészet műfaji hagyományától korábban sem volt idegen, de Iuvenalisnál új szintre emelkedett. A könyv e változatos hatásrendszer bemutatására vállalkozik.
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Expressions such as ‘misogyny’ and ‘anti-feminist’ appear again and again in papers dealing with Juvenal’s almost 700-line-long Satire 6, where they are used not only to describe the text itself, but also its narrator and, in some cases,... more
Expressions such as ‘misogyny’ and ‘anti-feminist’ appear again and again in papers dealing with Juvenal’s almost 700-line-long Satire 6, where they are used not only to describe the text itself, but also its narrator and, in some cases, the poet himself. Accordingly, the misogynistic disposition of Satire 6 is a well-discussed feature of the poem. To (re)examine this question, I approach the text by focusing on the targets of the invective – that is, the women listed as deterrent examples for the addressee Postumus – and by comparing the Juvenalian narrator’s attitude towards women to the treatment of homosexuals and foreigners in the Satires in order to prove that while Satire 6 has strong misogynistic features, the Juvenalian narrator cannot and should not be considered as a misogynistic character.
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The opening of Juvenal’s longest and maybe the most well-known poem, Satire 6, is based on the ancient concept of the “Ages of Man”, starting from the reign of Saturn and ending with the flight of the two sisters, Pudicitia and Astraea.... more
The opening of Juvenal’s longest and maybe the most well-known poem, Satire 6, is based on the ancient concept of the “Ages of Man”, starting from the reign of Saturn and ending with the flight of the two sisters, Pudicitia and Astraea. The first part of this 24-line-long passage depicts the Golden Age by making use of two different sources: the idealized Golden Age appearing in Vergil’s poetry among others and the prehistoric primitive world from Book 5 of Lucretius. The Juvenalian Golden Age, presented briefly in a naturalistic way, is a curious amalgam of these two traditions, being the only time in human history according to the poet when marital fidelity was unblemished. However, while reading Satire 6, it seems far from obvious that the lack of adultery should be attributed to higher morals.
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This article presents ancient Roman texts dealing with the topic of same-sex weddings with the purpose of examining the reliability of these sources and contributing to the understanding of this element of the ancient tradition. In order... more
This article presents ancient Roman texts dealing with the topic of same-sex weddings with the purpose of examining the reliability of these sources and contributing to the understanding of this element of the ancient tradition. In order to do so, this paper takes literary and historiographical sources and legal aspects into consideration, making use of research by Craig Williams, Bruce Frier, and Michael Fontaine. Apart from a Late Imperial constitutio, our most important sources are historiographical works on two emperors of scandalous reign, namely Nero and Elagabalus; Juvenal’s Satire 2; and two epigrams by Martial: 1, 24 and 12, 42. In the closing section of the paper, I suggest a new interpretation for the punchline of the latter poem.
Research Interests: Classics, Sexuality, M. Valerius Martialis, Greek and Roman Sexualities, Homosexuality and Literature, and 14 moreClassical philology, Cassius Dio, Emperor Nero, Tacitus, Homosexuality, Gender and sexuality in the ancient world, Scriptores Historiae Augustae, Ancient Rome, Same Sex Marriage, Gay marriage, Juvenal, Roman and Greek Sexuality, Elagabalus, and Colonialism and Imperialism
Review on JUVENAL AND GLOBALISATION - (O.) Umurhan Juvenal's Global Awareness. Circulation, Connectivity, and Empire. Pp. x + 190, map. London and New York: Routledge, 2018. Cased, £105, US$140. ISBN: 978-1-138-12530-8.
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In this paper, the presence of food and dinners in connection with epic poetry in three different Juvenalian poems is discussed. The first is Satire 4 containing a mock-epic, the plot of which revolves around a giant turbot that is... more
In this paper, the presence of food and dinners in connection with epic poetry in three different Juvenalian poems is discussed. The first is Satire 4 containing a mock-epic, the plot of which revolves around a giant turbot that is described with epic-style elements, and that is given to the emperor Domitian characterized by uncontrolled gluttony. The other two poems, Satires 5 and 11, both focusing on dinner parties, are in connection with the epic genre as well: while in the closing poem of Book 1, several epic connotations appear in the description of the gluttonous Virro’s extravagant dinner, in Satire 11, the enjoyment of epic poetry is praised and compared to an almost pornographic dance performance in a luxurious feast. Reading the three poems together, it might be proved from another aspect that we have to make a distinction between the Juvenalian evaluation of topics described using epic-style elements and the epic poetry itself.
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The concept of xenophobia appears frequently in articles and monographs dealing with the Satires of Juvenal, where it is applied to the content of the poems, their narrator, and sometimes the poet. Although the usage of this term might... more
The concept of xenophobia appears frequently in articles and monographs dealing with the Satires of Juvenal, where it is applied to the content of the poems, their narrator, and sometimes the poet. Although the usage of this term might seem anachronistic for an ancient context , it should not be dismissed as a speaker in Juvenal presents the features of xenophobia-both from the word's lexical definition and its more complex descriptions, e.g. that one appearing in the Declaration on Racism (2001). However, this speaker is not the narrator of the Satires but rather the central figure of Satire 3, the interlocutor named Umbricius, whose character is purposefully rendered by Juvenal as having different characteristics and views from his narrator. In this article, I present arguments suggesting that Umbricius may rightly be named a xenophobic person, in contrast to the Satires' narrator.
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Julius Caesar, one of the protagonists of Lucan’s Pharsalia, disappears from the scene for a long time after the Battle of Pharsalus. He reappears at the end of Book 9, when he pays a visit to the ruined city of Troy. The function and the... more
Julius Caesar, one of the protagonists of Lucan’s Pharsalia, disappears from the scene for a long time after the Battle of Pharsalus. He reappears at the end of Book 9, when he pays a visit to the ruined city of Troy. The function and the source of this historically unsupported scene are both worth examining. Earlier research disclosed as the literary source of the Troy scene the episode in Aeneid Book 8, when Evander shows Aeneas the future site of Rome. While fully accepting that, I would like to present another possible source that might have as much effect on the constructing of Lucan’s Troy as the Evander–scene: the katabasis in Book 6 of the Aeneid. Definite parallelisms can be identified between the two scenes on both motivic and textual levels. Furthermore, the connection between these three scenes can be proved on the level of content, since by examining them together the real purpose of the Troy scene can be decoded: Lucan predicts Rome’s destruction in this episode.
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Juvenal's Satire 3 is a peculiar poem in many aspects. The 322-line satire is much longer than was usual before Juvenal, and almost the entire poem consists of a speech of Umbricius, the longest continuous speech by an interlocutor in all... more
Juvenal's Satire 3 is a peculiar poem in many aspects. The 322-line satire is much longer than was usual before Juvenal, and almost the entire poem consists of a speech of Umbricius, the longest continuous speech by an interlocutor in all extant Roman satires. I have analysed Satire 3 as part of my research, focusing on the mixture of genres that can be observed in Juvenal s satires. From this viewpoint, Satire 3 is the most interesting satire by Juvenal before one considers the crucial role epic and bucolic literature play interpreting the poem. Examining the interlocutor's character and his literary sources, we can conclude that he is the most complex figure in Juvenal. Although the assumption of Umbricius' historical background and possible connection with real persons had been criticized, we must consider the possibility that on the one hand, the figure of Umbricius can be traced back to a historical character, and on the other hand, the dramatic setting of the satire (a friend leaves Rome) can be based on a real event.
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When examining obscene expressions and taboos in the Latin language, one cannot rely on the modern concepts of profanities or taboos at all, since the limits of obscenity were drawn much further than in our times, as it is sufficiently... more
When examining obscene expressions and taboos in the Latin language, one cannot rely on the modern concepts of profanities or taboos at all, since the limits of obscenity were drawn much further than in our times, as it is sufficiently demonstrated by certain elements of the Roman culture. It is enough to mention the custom of hanging a phallic charm on babies' necks, or the fascini used to ward the evil away from conquering generals. In my paper, I deal with the appearance of themes and expressions that can be considered as obscene in the poems of Martial and Juvenal. In doing this, I have examined the graffiti-corpus found in the cities destroyed by the eruption of Mount Vesuvius in 79 AD, being the most important contemporary source of these expressions. The analysis of these literary texts can bring us closer to revealing where the aforementioned limits were drawn in the Latin language of the 1st and 2nd century AD.
Research Interests: Classics, Latin Literature, Sexuality, M. Valerius Martialis, Classical philology, and 13 moreMartial 'Epigrams', Greek and Latin Epigram, Satire & Irony, Roman Satire, Epigram (Classics), Satire, Obscenity, Classical Literature, Profanity, Juvenal, Roman Literature, Roman satire, with special emphasis on Juvenal, and Decimus Iunius Iuvenalis
Bartolomeo Fonzio’s Annotationes in Iuvenalem contains observations on the first six Satires of Juvenal. This commentary was written in the last decade of the 15th century, and it fits well into the Quattrocento’s increased interest in... more
Bartolomeo Fonzio’s Annotationes in Iuvenalem contains observations on the first six Satires of Juvenal. This commentary was written in the last decade of the 15th century, and it fits well into the Quattrocento’s increased interest in Juvenal. Remarkably, it seems to have been Fonzio’s main purpose to refute earlier views on Juvenal. His method of commenting makes the work peculiar: many of his annotationes comment in fact in the first place on earlier commentators on
Juvenal – such as Giorgio Merula, Giorgio Valla, Domizio Calderini, and Angelo Poliziano. Some of Fonzio’s comments are very offensive, and are written in the style of personal attacks. In this contribution, I examine the characteristics of Fonzio’s commentary, his methods of refutation and argumentation, and his philological achievements.
Juvenal – such as Giorgio Merula, Giorgio Valla, Domizio Calderini, and Angelo Poliziano. Some of Fonzio’s comments are very offensive, and are written in the style of personal attacks. In this contribution, I examine the characteristics of Fonzio’s commentary, his methods of refutation and argumentation, and his philological achievements.
Research Interests: Renaissance Studies, Humanistic philology, Roman Satire, Angelo Poliziano, Commentary, and 12 moreQuattrocento, Juvenal, Roman satire, with special emphasis on Juvenal, Renaissance Philology, Domizio Calderini, Bartolomeo della Fonte, Decimus Iunius Iuvenalis, Fonzio, Bartholomaeus Fontius, Bartolomeo Fonzio, Giorgio Valla, and Giorgio Merula
Satire 4 is one of the most-criticized poems of Juvenal. Because of its structural problems, certain scholars have even casted doubts on its unity considering it as two fragments patched together by a later editor. The key to understand... more
Satire 4 is one of the most-criticized poems of Juvenal. Because of its structural problems, certain scholars have even casted doubts on its unity considering it as two fragments patched together by a later editor. The key to understand the satire’s structure is the connection between its two main parts and the central figures thereof, Crispinus and Domitian. Apart from the structural problems, this paper also deals with certain features of the mock-epic as well as the targets of the invective.
Research Interests: Classics, Latin Literature, Statius (Classics), Latin Epic, Classical philology, and 12 moreEpic poetry, Emperor Domitian, Satire & Irony, Roman Satire, Satire, Classical Literature, Juvenal, Roman Literature, Roman satire, with special emphasis on Juvenal, Mock Epic, Decimus Iunius Iuvenalis, and Satire 4 (Juvenal)
The question of the relation between Juvenal and Quintilian is still unanswered: the reconstruction of their possible biographical and literary connections is very uncertain. The Life of Juvenal does not mention Quintilian; its author... more
The question of the relation between Juvenal and Quintilian is still unanswered: the reconstruction of their possible biographical and literary connections is very uncertain. The Life of Juvenal does not mention Quintilian; its author only states that Juvenal spent a significant part of his life declaiming. Their personal acquaintance is not confirmed by any ancient source, and the views of modern research are not univocal either; however, most scholars leave the question undecided. On the grounds of the biographical data, it cannot even be proven with certainty that Juvenal known Quintilian, thus we have to find evidence in the texts of the two authors. In this paper, I examine the possible influence of Quintilian on Juvenal’s Satires, highlight textual and thematic parallels as well as common motifs in order to unfold the relation between the two authors.
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The question of the relationship between Juvenal and Quintilian is still unanswered: the reconstruction of their possible biographical and literary connections is very uncertain. The Life of Juvenal does not mention Quintilian; its author... more
The question of the relationship between Juvenal and Quintilian is still unanswered: the reconstruction of their possible biographical and literary connections is very uncertain. The Life of Juvenal does not mention Quintilian; its author only states that Juvenal spent a significant part of his life declaiming. Their personal acquaintance is not confirmed by any ancient source, and the views of modern research are not univocal either. In his Institutes Quintilian declares concerning the satire that in his age there are satirists who will be famous in the future. However, research is very careful about the question whether Quintilian referred to Juvenal with these words. On the basis of the biographical data, it cannot even be proven with certainty that Juvenal had known Quintilian, thus we have to find evidence in the texts of the two authors. In this paper, I examine the possible influence of Quintilian on Juvenal’s Satire 1, by highlighting textual and thematic parallels, as well as common motifs, in order to unfold the relation between Satire 1, the Institutes, and the Minor Declamations attributed to Quintilian.
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Juvenal in his Satires uses statues to depict the moral decadence of Rome. The statues that appear in the works can be divided into two basic types: the statue itself can represent moral crisis, or it can show how improperly people in... more
Juvenal in his Satires uses statues to depict the moral decadence of Rome. The statues that appear in the works can be divided into two basic types: the statue itself can represent moral crisis, or it can show how improperly people in Juvenal’s day treated sculptures. These loci are connected with other Juvenalian passages: the poet uses them to attack, among others, contemporary poets, sacrilegious behaviour, or perfidious women. In addition, there is a common thematic element in these passages: Juvenal uses statues primarily to draw a contrast between the present and the past.
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A Iuvenalis Rómáját benépesítő alakok többnyire nem a „kultúra emberei”, de közöttük is feltűnnek tanárok, tudósok, alkotók, a római irodalom- és művelődéstörténet néhány óriása. Iuvenalis narrátora bírálja a fércműveket, nevetségessé... more
A Iuvenalis Rómáját benépesítő alakok többnyire nem a „kultúra emberei”, de közöttük is feltűnnek tanárok, tudósok, alkotók, a római irodalom- és művelődéstörténet néhány óriása. Iuvenalis narrátora bírálja a fércműveket, nevetségessé teszi az értéktelen alkotásokat, ugyanakkor számos szöveghely azt bizonyítja, hogy értékeli a valódi szellemi teljesítményt. A háttérben mégis kirajzolódik a kérdés: érdemes-e a szatírák Rómájában értelmiségi pályát választani?
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Tanulmányomban az azonos neműek házasságkötéséről beszámoló római szövegeket mutatom be azok megbízhatóságának és lehetséges értelmezéseinek vizsgálata céljával. Az irodalmi és történeti források mellett jogi szempontokat is figyelembe... more
Tanulmányomban az azonos neműek házasságkötéséről beszámoló római szövegeket mutatom be azok megbízhatóságának és lehetséges értelmezéseinek vizsgálata céljával. Az irodalmi és történeti források mellett jogi szempontokat is figyelembe véve, mindenekelőtt Craig Williams, Bruce Frier és Michael Fontaine eredményeire támaszkodva vizsgálom a témát, amelyhez egy későantik constitutio mellett két Martialis-epigramma, egy Iuvenalis-szatíra, valamint a Nero, illetve Heliogabalus császárok egyaránt botrányokkal tűzdelt uralkodásáról beszámoló történeti munkák jelentik a legfontosabb forrást.
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Iuvenalis képmutatás elleni invektívájának egy pontján lép színre az életmű egyetlen, hosszabb monológot előadó női interlocutora, Laronia. A 26 soros beszéd középpont-jában – akárcsak a szatíra egésze esetén – a képmutató, a női szerepbe... more
Iuvenalis képmutatás elleni invektívájának egy pontján lép színre az életmű egyetlen, hosszabb monológot előadó női interlocutora, Laronia. A 26 soros beszéd középpont-jában – akárcsak a szatíra egésze esetén – a képmutató, a női szerepbe lépő, illetve a valódi énjüket elrejtő homoszexuális férfiak állnak. E férfiak hasonló szerepet töltenek be a 2. szatírában, mint a római asszonyok a 6.-ban: egy központi (képmutatás, illetve hűtlenség) és számos, mintegy mellékesen említett (pl. a vallási rituálék megbecstele-nítése, előkelő rómaiakhoz méltatlan viselkedés stb.) vétket a narrátor rájuk fókuszál-va mutat be, ám ez nem jelenti azt, hogy e bűnök kizárólagos elkövetői, e jelenségek kizárólagos felelősei lennének.
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Research Interests: Classics, History of Sexuality, M. Valerius Martialis, Roman poetry, Classical philology, and 11 moreLanguage and Sexuality, Satire & Irony, Roman Satire, Sexuality Studies, Obscenity, Obscenity Studies, Classical Antiquity, Juvenal, Roman Literature, Ancient Literature, and Decimus Iunius Iuvenalis
The opening of Juvenal’s longest and maybe the most well-known poem, Satire 6, is based on the ancient concept of the “Ages of Man”, starting from the reign of Saturn and ending with the flight of the two sisters, Pudicitia and Astraea.... more
The opening of Juvenal’s longest and maybe the most well-known poem, Satire 6, is based on the ancient concept of the “Ages of Man”, starting from the reign of Saturn and ending with the flight of the two sisters, Pudicitia and Astraea. The first part of this 24-line-long passage depicts the Golden Age making use of two different sources: the idealized Golden Age appearing in Vergil’s poetry among others and the prehistoric primitive world from the Book 5 of Lucretius. The Juvenalian Golden Age, presented briefly in a naturalistic way, is a curious amalgam of these two traditions, being the only time in human history according to the poet when marital fidelity was unblemished. However, while reading Satire 6, it seems far from obvious that the lack of adultery should be attributed to higher morals. Albeit Juvenal presents a great variety of women’s sins in Satire 6, the poem’s central motif is infidelity beyond doubt, which is called the most ancient of all sins by the poet, being the only one that appeared in the Silver Age already. This is his cause for looking back to the mythological past in the introductory lines of the “Women’s Satire”; but as his words reveal it, the return to this state of the world and humanity seems neither possible nor desirable to him…
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The title of my paper refers to a remark of Charles Witke, who specifies Juvenal’s Satire 3 in his monograph of Latin Satire as the eclogue of the urban poor. The interlocutor (who is also the main speaker in this case) of the satire says... more
The title of my paper refers to a remark of Charles Witke, who specifies Juvenal’s Satire 3 in his monograph of Latin Satire as the eclogue of the urban poor. The interlocutor (who is also the main speaker in this case) of the satire says farewell to a friend before leaving his home for good, just like Meliboeus in Vergil’s First Eclogue. Both dialogues take place in natural environment, so to say, in a locus amoenus, however the setting of the satire is somewhat different from the traditional bucolic scenes. In my paper, I present the aforementioned bucolic features of the beginning and closure of Satire 3, after a brief summary of the other Juvenalian Satires showing the influence of bucolic poetry.
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E tanulmány a Római Birodalom területéről ránk maradt pridianum-típusú dokumentumok adatszerkezetének elemzésével foglalkozik. E haderőjelentések közül, melyeket évente egyszer, illetve Egyiptomban évente kétszer készítettek el, s egy... more
E tanulmány a Római Birodalom területéről ránk maradt pridianum-típusú dokumentumok adatszerkezetének elemzésével foglalkozik. E haderőjelentések közül, melyeket évente egyszer, illetve Egyiptomban évente kétszer készítettek el, s egy adott cohors aktuális állapotát, valamint az előző jelentés óta történt változásokat rögzítették, összesen négy áll rendelkezésünkre olyan állapotban, hogy érdemi vizsgálat alá vethessük őket. Annak ellenére, hogy kortárs forrásaink nem maradtak fent a római hadseregben uralkodó adatrögzítési gyakorlatról, a meglévő dokumentumok elemzésével olyan szabályosságokat fedezhetünk
fel, melyek egyértelműen a statisztikai adatok tudatos rögzítésére utalnak. Noha a négy vizsgált dokumentum a Birodalom négy egymástól távol eső részén keletkezett, a legkorábbi és a legkésőbbi keletkezési időpontját pedig közel másfél évszázad választja el, határozott szabályosságok mutathatók ki a feljegyzések makrostruktúrájában, melyekből további következtetéseket vonhatunk le.
The paper analyzes the data structure of pridianum-type documents that survived from the territory of the Roman Empire. From these strength reports, which were compiled annually – or twice a year in Egypt – to document the actual state of a given cohors as well as the changes since the last report, four are available in such condition that makes meaningful examination possible. Despite the fact that we do not have any contemporary sources about the reporting practices in the Roman army, by analyzing the surviving documents, we can discover such regularities that suggest that statistical data was recorded systematically. Even though the four documents came from four distinct regions of the empire, distant from each other, and the earliest was compiled almost one and a half centry before the latest, we can find clear-cut regularities in the macrostructure of the reports, from which we can draw further conclusions.
fel, melyek egyértelműen a statisztikai adatok tudatos rögzítésére utalnak. Noha a négy vizsgált dokumentum a Birodalom négy egymástól távol eső részén keletkezett, a legkorábbi és a legkésőbbi keletkezési időpontját pedig közel másfél évszázad választja el, határozott szabályosságok mutathatók ki a feljegyzések makrostruktúrájában, melyekből további következtetéseket vonhatunk le.
The paper analyzes the data structure of pridianum-type documents that survived from the territory of the Roman Empire. From these strength reports, which were compiled annually – or twice a year in Egypt – to document the actual state of a given cohors as well as the changes since the last report, four are available in such condition that makes meaningful examination possible. Despite the fact that we do not have any contemporary sources about the reporting practices in the Roman army, by analyzing the surviving documents, we can discover such regularities that suggest that statistical data was recorded systematically. Even though the four documents came from four distinct regions of the empire, distant from each other, and the earliest was compiled almost one and a half centry before the latest, we can find clear-cut regularities in the macrostructure of the reports, from which we can draw further conclusions.
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Luc. Phars. 5, 771-775;
Luc. Phars. 4, 174-176;
Luc. Phars. 9, 975-979.
Luc. Phars. 4, 174-176;
Luc. Phars. 9, 975-979.
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A Iuvenalis 13. szatírájának 28. sorában megjelenő nona aetas kifejezés hátterében álló kilencedik korszakot illetve nemzedéket nem lehet egyértelműen egy mítoszban vagy valamiféle történeti sémában elhelyezni, s a problémát még... more
A Iuvenalis 13. szatírájának 28. sorában megjelenő nona aetas kifejezés hátterében álló kilencedik korszakot illetve nemzedéket nem lehet egyértelműen egy mítoszban vagy valamiféle történeti sémában elhelyezni, s a problémát még összetettebbé teszi a szöveg esetleges romlottsága. A sor első szavaként már a korai kéziratokban sem csupán a nona szerepel, ráadásul a legtöbb esetben mérvadónak tekintett kézirat sem ezt tartalmazza. Ennek ellenére a nona olvasat helyességét fogadja el a szövegkritika és a kutatás döntő többsége: egyfelől a legmérvadóbb szövegkiadások ezt a variánst tartalmazzák, másfelől elismert szakirodalmi források is hivatkoznak a iuvenalisi nona aetasra, amit szintén állásfoglalásnak tekinthetünk. Meggyőződésem szerint pusztán szövegkritikai érvek alapján nem lehetséges ítéletet hozni a nona olvasat helyessége mellett, vagy épp ellene, éppen ezért vizsgálatom fókuszában a nona aetas kifejezés tartalmi értelmezése áll. Célom annak bizonyítása, hogy értelmi szempontok is az olvasat helyessége mellett szólnak.
Research Interests: Classics, Latin Literature, Textual Criticism, Classical philology, Satire & Irony, and 11 moreRoman Satire, Satire, The Greek and Latin Classics, Classical Literature, Juvenal, Roman Literature, Roman satire, with special emphasis on Juvenal, Ancient Literature, The Augustan Golden age myth, Decimus Iunius Iuvenalis, and Ages of Man (myth)
Egy rövid, a falánk Crispinus elleni invektíva és az antik irodalom egyik legkülönlegesebb eposzparódiája: e két egységből áll össze Iuvenalis 4. szatírája, amelynek jegyzetelt prózai fordítása olvasható a következőkben.
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A következőkben olvasható fordítás voltaképpen egy kísérlet a tartalmi és stiláris szempontból lehető legpontosabb magyar Iuvenalis-szöveg létrehozására. A választott költemény a 3. szatíra, melynek különlegessége nem csupán abból fakad,... more
A következőkben olvasható fordítás voltaképpen egy kísérlet a tartalmi és stiláris szempontból lehető legpontosabb magyar Iuvenalis-szöveg létrehozására. A választott költemény a 3. szatíra, melynek különlegessége nem csupán abból fakad, hogy vers legnagyobb részében nem a narrátor, hanem fiktív beszélgetőpartnere, egy Umbriciusnak nevezett interlocutor szavait olvashatjuk, hanem abból is, hogy a költőre olyannyira jellemző intertextuális játék ebben a versben a legerőteljesebb: a szatíra keretében bukolikus színezet fedezhető fel, Umbricius beszédét pedig Martialistól jól ismert témák (s olykor kifejezések), valamint epikus képek és allúziók szövik át.
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A következőkben Iuvenalis programverse, az 1. szatíra jegyzetelt fordítását teszem közzé. A költeményben erős a metapoétikai reflexió, Iuvenalis verseinek témájáról, stílusáról és célpontjairól is határozott, ars poétikus... more
A következőkben Iuvenalis programverse, az 1. szatíra jegyzetelt fordítását teszem közzé. A költeményben erős a metapoétikai reflexió, Iuvenalis verseinek témájáról, stílusáról és célpontjairól is határozott, ars poétikus állásfoglalásokat fogalmaz meg.
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Iuvenalis 2. szatírája, az első olvasatra a homoszexuális férfiak, valójában viszont mindenekelőtt a képmutatás ellen íródott költemény prózai fordításának elsődleges célja a narrátor indulatainak és szatirikus gúnyának lehető... more
Iuvenalis 2. szatírája, az első olvasatra a homoszexuális férfiak, valójában viszont mindenekelőtt a képmutatás ellen íródott költemény prózai fordításának elsődleges célja a narrátor indulatainak és szatirikus gúnyának lehető legpontosabb visszaadá-sa.
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In this paper, the presence of food and dinners in connection with epic poetry in three different Juvenalian poems is discussed. The first is Satire 4 containing a mock-epic, the plot of which revolves around a giant turbot that is... more
In this paper, the presence of food and dinners in connection with epic poetry in three different Juvenalian poems is discussed. The first is Satire 4 containing a mock-epic, the plot of which revolves around a giant turbot that is described with epic-style elements, and that is given to the emperor Domitian characterized by uncontrolled gluttony. The other two poems, Satires 5 and 11, both focusing on dinner parties, are in connection with the epic genre as well: while in the closing poem of Book 1, several epic connotations appear in the description of the gluttonous Virro’s extravagant dinner, in Satire 11, the enjoyment of epic poetry is praised and compared to an almost pornographic dance performance in a luxurious feast. Reading the three poems together, it might be proved from another aspect that we have to make a distinction between the Juvenalian evaluation of topics described using epic-style elements and the epic poetry itself.
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Research Interests: Philosophy, Classics, Latin Literature, Art, Literature, and 15 morePoetry, Latin Epic, Classical philology, Epic poetry, Emperor Domitian, Roman Satire, Invective, Classical Literature, Juvenal, Roman Literature, Epic, Historical Studies, Classical Philology, Mock Epic, and Decimus Iunius Iuvenalis
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The topic of this article is the comparative analysis of the data structure of the extant pridianum-type documents from the Roman Empire. The pridianum is a report on the status and the changes of a cohort, which was compiled once or... more
The topic of this article is the comparative analysis of the data structure of the extant pridianum-type documents from the Roman Empire. The pridianum is a report on the status and the changes of a cohort, which was compiled once or twice a year. Though we don’t have any contemporary sources on the data recording methods of the Roman army, with the analysis of these documents we can discover some regularities referring to conscious recording of statistical data. These regularities in the macrostructure of documents also can help us to get more information about fragmentary documents
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Research Interests: Classics, History of Sexuality, M. Valerius Martialis, Roman poetry, Classical philology, and 13 moreLanguage and Sexuality, Satire & Irony, Roman Satire, Sexuality Studies, Obscenity, Obscenity Studies, Classical Antiquity, Juvenal, Roman Literature, Ancient Literature, Classical Philology, Ókor, and Decimus Iunius Iuvenalis
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Iuvenalis majdnem 700 soros 6. szatíráját illetően a szakirodalomban újra és újra felbukkan a „nőellenes” jelző, mellyel nem csupán magát a szöveget, de annak narrátorát, sőt egyes esetekben magát a költőt is minősítik – ennek megfelelően... more
Iuvenalis majdnem 700 soros 6. szatíráját illetően a szakirodalomban újra és újra felbukkan a „nőellenes” jelző, mellyel nem csupán magát a szöveget, de annak narrátorát, sőt egyes esetekben magát a költőt is minősítik – ennek megfelelően a vers kutatástörténetének is visszatérő motívuma e jelző létjogosultságának kérdése. Ennek (felül)vizsgálatához a szatírát az invektíva célpontjait, azaz a címzett Postumus számára elrettentő példaként felsorolt nőket a középpontba állítva vizsgálom Iuvenalis más szövegeit is bevonva.
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Iuvenalis 2. szatírája, az első olvasatra a homoszexuális férfiak, valójában viszont mindenekelőtt a képmutatás ellen íródott költemény prózai fordításának elsődleges célja a narrátor indulatainak és szatirikus gúnyának lehető... more
Iuvenalis 2. szatírája, az első olvasatra a homoszexuális férfiak, valójában viszont mindenekelőtt a képmutatás ellen íródott költemény prózai fordításának elsődleges célja a narrátor indulatainak és szatirikus gúnyának lehető legpontosabb visszaadása.
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A Iuvenalis első könyvét záró, a kliens–patrónus-viszony eltorzulását fókuszba állító szatíra jegyzetelt prózai fordítása olvasható az alábbiakban.
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The opening of Juvenal’s longest and maybe the most well-known poem, Satire 6, is based on the ancient concept of the “Ages of Man”, starting from the reign of Saturn and ending with the flight of the two sisters, Pudicitia and Astraea.... more
The opening of Juvenal’s longest and maybe the most well-known poem, Satire 6, is based on the ancient concept of the “Ages of Man”, starting from the reign of Saturn and ending with the flight of the two sisters, Pudicitia and Astraea. The first part of this 24-line-long passage depicts the Golden Age by making use of two different sources: the idealized Golden Age appearing in Vergil’s poetry among others and the prehistoric primitive world from Book 5 of Lucretius. The Juvenalian Golden Age, presented briefly in a naturalistic way, is a curious amalgam of these two traditions, being the only time in human history according to the poet when marital fidelity was unblemished. However, while reading Satire 6, it seems far from obvious that the lack of adultery should be attributed to higher morals.
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The topic of this article is the comparative analysis of the data structure of the extant pridianumtype documents from the Roman Empire. The pridianum is a report on the status and the changes of a cohort, which was compiled once or... more
The topic of this article is the comparative analysis of the data structure of the extant pridianumtype documents from the Roman Empire. The pridianum is a report on the status and the changes of a cohort, which was compiled once or twice a year. Though we don’t have any contemporary sources on the data recording methods of the Roman army, with the analysis of these documents we can discover some regularities referring to conscious recording of statistical data. These regularities in the macrostructure of documents also can help us to get more information about fragmentary documents. Keywords Information history, Military records, Pridianum, Roman empire, Statistical documents
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The question of the relation between Juvenal and Quintilian is still unanswered: the reconstruction of their possible biographical and literary connections is very uncertain. The Life of Juvenal does not mention Quintilian; its author... more
The question of the relation between Juvenal and Quintilian is still unanswered: the reconstruction of their possible biographical and literary connections is very uncertain. The Life of Juvenal does not mention Quintilian; its author only states that Juvenal spent a significant part of his life declaiming. Their personal acquaintance is not confirmed by any ancient source, and the views of modern research are not univocal either; however, most scholars leave the question undecided. On the grounds of the biographical data, it cannot even be proven with certainty that Juvenal known Quintilian, thus we have to find evidence in the texts of the two authors. In this paper, I examine the possible influence of Quintilian on Juvenal’s Satires, highlight textual and thematic parallels as well as common motifs in order to unfold the relation between the two authors.
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Research Interests: History, Classics, Sexuality, Greek and Roman Sexualities, Homosexuality and Literature, and 15 moreClassical philology, Cassius Dio, Emperor Nero, Tacitus, Homosexuality, Gender and sexuality in the ancient world, Scriptores Historiae Augustae, Ancient Rome, Same Sex Marriage, Gay marriage, Juvenal, Roman and Greek Sexuality, Elagabalus, Classical Philology, and Colonialism and Imperialism
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The title of my paper refers to a remark of Charles Witke, who specifies Juvenal’s Satire 3 in his monograph of Latin Satire as the eclogue of the urban poor. The interlocutor (who is also the main speaker in this case) of the satire says... more
The title of my paper refers to a remark of Charles Witke, who specifies Juvenal’s Satire 3 in his monograph of Latin Satire as the eclogue of the urban poor. The interlocutor (who is also the main speaker in this case) of the satire says farewell to a friend before leaving his home for good, just like Meliboeus in Vergil’s First Eclogue. Both dialogues take place in natural environment, so to say, in a locus amoenus, however the setting of the satire is somewhat different from the traditional bucolic scenes. In my paper, I present the aforementioned bucolic features of the beginning and closure of Satire 3, after a brief summary of the other Juvenalian Satires showing the influence of bucolic poetry.
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Research Interests: Classics, Latin Literature, Art, Sexuality, Martial Arts, and 15 moreM. Valerius Martialis, Classical philology, Martial 'Epigrams', Greek and Latin Epigram, Satire & Irony, Roman Satire, Taboo, Satire, Obscenity, Classical Literature, Profanity, Juvenal, Roman Literature, Classical Philology, and Decimus Iunius Iuvenalis
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Iuvenalis 4. szatírája az életmű egyik legtöbbet kritizált darabja. A szerkezeti problémák miatt egyes kutatók a mű eredeti egységességét is kétségbe vonják azt feltételezve, hogy két, egy későbbi kiadó által összefércelt töredékből áll.... more
Iuvenalis 4. szatírája az életmű egyik legtöbbet kritizált darabja. A szerkezeti problémák miatt egyes kutatók a mű eredeti egységességét is kétségbe vonják azt feltételezve, hogy két, egy későbbi kiadó által összefércelt töredékből áll. A struktúra megértésének kulcsa a két fő szerkezeti egység, s ezzel együtt a két központi karakter, Crispinus és Domitianus közötti kapcsolat feltárása. Az alábbi tanulmány a szerkezeti problémák mellett a mű epikus jellegzetességeivel, illetve az invektíva célpontjaival foglalkozik.
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Juvenal in his Satires uses statues to depict the moral decadence of Rome. The statues that appear in the works can be divided into two basic types: the statue itself can represent moral crisis, or it can show how improperly people in... more
Juvenal in his Satires uses statues to depict the moral decadence of Rome. The statues that appear in the works can be divided into two basic types: the statue itself can represent moral crisis, or it can show how improperly people in Juvenal’s day treated sculptures. These loci are connected with other Juvenalian passages: the poet uses them to attack, among others, contemporary poets, sacrilegious behaviour, or perfidious women. In addition, there is a common thematic element in these passages: Juvenal uses statues primarily to draw a contrast between the present and the past.
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A 3. szatíra Iuvenalis életművének egyik legtöbbre tartott, egyben legkülönlegesebb darabja. Egy rövid bevezető után a mű csaknem egészét egy Umbriciusnak nevezett interlocutor monológja tölti ki, melyben megindokolja, hogy miért költözik... more
A 3. szatíra Iuvenalis életművének egyik legtöbbre tartott, egyben legkülönlegesebb darabja. Egy rövid bevezető után a mű csaknem egészét egy Umbriciusnak nevezett interlocutor monológja tölti ki, melyben megindokolja, hogy miért költözik Cumae-ba Rómából. Umbricius más iuvenalisi interlocutorokhoz képest jóval összetettebb alak, akinek különböző vonásait különböző forrásokra és ihletőkre vezethetjük vissza, s ez áttételesen a 3. szatíra egészére is igaz, mert benne az epikus hagyomány, a bukolikus költészet és Martialis hatása egyaránt jelentős.
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Research Interests: Art, Literature, Renaissance Studies, Humanistic philology, Roman Satire, and 13 moreAngelo Poliziano, Commentary, Quattrocento, Juvenal, Renaissance Philology, Domizio Calderini, Bartolomeo della Fonte, Decimus Iunius Iuvenalis, Fonzio, Bartholomaeus Fontius, Bartolomeo Fonzio, Giorgio Valla, and Giorgio Merula
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Egy rövid, a falánk Crispinus elleni invektíva és az antik irodalom egyik legkülönlegesebb eposzparódiája – e két egységből áll össze Iuvenalis 4. szatírája, amelynek jegyzetelt prózai fordítása olvasható a következőkben.
The opening of Juvenal’s longest and maybe the most well-known poem, Satire 6, is based on the ancient concept of the “Ages of Man”, starting from the reign of Saturn and ending with the flight of the two sisters, Pudicitia and Astraea.... more
The opening of Juvenal’s longest and maybe the most well-known poem, Satire 6, is based on the ancient concept of the “Ages of Man”, starting from the reign of Saturn and ending with the flight of the two sisters, Pudicitia and Astraea. The first part of this 24-line-long passage depicts the Golden Age making use of two different sources: the idealized Golden Age appearing in Vergil’s poetry among others and the prehistoric primitive world from the Book 5 of Lucretius. The Juvenalian Golden Age, presented briefly in a naturalistic way, is a curious amalgam of these two traditions, being the only time in human history according to the poet when marital fidelity was unblemished. However, while reading Satire 6, it seems far from obvious that the lack of adultery should be attributed to higher morals. Albeit Juvenal presents a great variety of women’s sins in Satire 6, the poem’s central motif is infidelity beyond doubt, which is called the most ancient of all sins by the poet, being t...